Spanish 1746-1828 Francisco de Goya Locations was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. Goya married Bayeu's sister Josefa in July 25, 1773. His marriage to Josefa (he nicknamed her "Pepa"), and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped him to procure work with the Royal Tapestry Workshop. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real de El Pardo, the newly built residences of the Spanish monarchs. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande, which led to his appointment as a member of the Royal Academy of Fine Art. In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned him to paint his portrait. He also became friends with Crown Prince Don Luis, and lived in his house. His circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.  Related Paintings of Francisco de Goya :. | Der Schleifer | El Maragato Threatens Friar Pedro de Zaldivia with His Gun | Wassertragerin | Portrait of Maria Teresa de Borbon y Vallabriga | Friar Pedro Shoots El Maragato as His Horse Runs Off |
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Parrocel, Joseph
French, 1646-1704 He studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates,
Aelst, Willem van
Dutch Baroque Era Painter, 1627-ca.1683 Studied under Otto Marseus van Schrieck. Students included Rachel Ruysch. Specializes in Still Life. was a Dutch artist who specialized in still-life painting with flowers or game. Van Aelst was born to a family of prominent city magistrates. He learned to paint from his uncle, the still-life painter Evert van Aelst. On 9 November 1643 he enrolled as a master of the Guild of Saint Luke at Delft. Between 1645 and 1649 he lived in France. In 1649 Van Aelst travelled to Florence, where he served as court painter to Ferdinand II de Medici, grand duke of Tuscany. At this time, the grand duke also employed two fellow Dutchmen Matthias Withoos and Otto Marseus van Schrieck, the latter also a still-life painter who probably influenced Van Aelst's style. In 1656 he returned to the Netherlands to settle permanently in Amsterdam. He became one of the most prominent still-life painters of his generation,
Francois-Joseph Heim
1787-1865 French Francois-Joseph Heim Gallery He was born at Belfort. He early distinguished himself at the Ecole Centrale of Strassburg, and in 1803 entered the studio of Vincent at Paris. In 1807 he obtained the first prize, and in 1812 his picture of The Return of Jacob (Musee de Bordeaux) won for him a gold medal of the first class, which he again obtained in 1817, when he exhibited, together with other works, a St John-bought by Vivant Denon. In 1819 the Resurrection of Lazarus (Cathedral Autun), the Martyrdom of St Cyr (St Gervais), and two scenes from the life of Vespasian (ordered by the king) attracted attention. In 1823 the Re-erection of the Royal Tombs at St Denis, the Martyrdom of St Laurence (Nôtre Dame) and several full-length portraits increased the painter popularity; and in 1824, when he exhibited his great canvas, the Massacre of the Jews (Louvre), Heim was rewarded with the Legion of Honour. In 1827 appeared the King giving away Prizes at the Salon of 1824 (Louvre-engraved by Jazet) the picture by which Heim is best known and Saint Hyacinthe. Heim was now commissioned to decorate the Gallery Charles X (Louvre). Though ridiculed by the romantists, Heim succeeded Regnault at the Institute in 1834, shortly after which he commenced a series of drawings of the celebrities of his day, which are of much interest. His decorations of the Conference room of the Chamber of Deputies were completed in 1844; and in 1847 his works at the Salon Champ de Mai and Reading a Play at the Theatre Francais were the signal for violent criticisms. Yet something like a turn of opinion in his favour took place at the exhibition of 1851; his powers as draughtsman and the occasional merits of his composition were recognized, and toleration extended even to his colour. Heim was awarded the great gold medal, and in 1855-having sent to the Salon no less than sixteen portraits, amongst which may be cited those of Cuvier, Geoffroy de St Hilaire, and Madame Hersent he was made officer of the legion of honour. In 1859 he again exhibited a curious collection of portraits, sixty-four members of the Institute arranged in groups of four. Besides the paintings already mentioned, there is to be seen in Notre Dame de Lorette (Paris) a work executed on the spot; and the museum of Strassburg contains an excellent example of his easel pictures, the subject of which is a Shepherd Drinking from a Spring.